City of Department of Urban Planning

Gabriel von Seidl – Trail A tour through Munich’s city centre Dear readers,

The architect Gabriel von Seidl (1848-1913) from Munich is con- sidered one of the most important representatives of historicism in . He focused intensely on the use of forms from the Renaissance and Baroque era and, in combination with traditional style elements, created what is today considered as typical expression of Bavarian vernacular style from Munich, going far beyond typical idealized versions from the era.

The resulting numerous distinctive buildings designed by Gabriel von Seidl characterise his home town of Munich to this day, and counterpose the ever increasing globalised architectural language with soothing individual accents. Among his most well known works are the Münchner Künstlerhaus at the Lenbachplatz, the fa- cades of the Karlstor Rondell buildings, the , as well as the Bayerische Nationalmuseum and the Deutsche Museum.

Gabriel von Seidl also advocated the preservation of significant buildings and monuments and showed a marked affinity to nature and countryside. As founder of the Isartalverein, an association for the preservation of the valley, he opposed the threatened destruction of the valley by property developers with concrete action, and may therefore be considered one of the first cityscape guardians and conservationists.

Gabriel von Seidl in seinem Atelier On the 100th anniversary of Gabriel von Seidl’s death, we would like to cordially invite you to follow his trail through the city and, with this in mind, to promote the message conveyed by his buildings and his personal efforts.

Prof. Dr.(I) Elisabeth Merk, City Councillor for the state of Munich. Prof. Dr. Andres Lepik, Director of the Architekturmuseum, TU München. Erich Rühmer, Chairman of the Isartalverein e.V., former Mayor. . Gabriel von Seidl

Gabriel von Seidl (1848 – 1913) was one of the most important that, like the “German room”, became an incarnation for the redis- architects of late historicism in Germany. He shaped the image of covery of the German Renaissance style. With the founding of the Munich to this day with numerous buildings and squares. Charac- in 1871, a national style had been found, which teristic of his architecture is a masterly, independent handling of in contrast to Classicism was aiming for a picturesque effect. The all styles, which he varied depending on the construction project, architecture was meant to capture living traditions, using regional commissioner or urban-planning context. He was a close friend building motifs as a means of achieving artistic expression. of Franz von Lenbach, August von Kaulbach and Rudolf Seitz, accomplished numerous interior designs and, furthermore, made Alongside the ‘German house’, Seidl was designing his own his name as a conservationist. house on the corner of Mars-/Seidlstraße and installed his architectural office in the back buildings. The Hamburg City Coun- Although Seidl wanted to become a painter, to please his father cillor Fritz Schumacher (1869-1947), who during his university he initially completed an apprenticeship as a locksmith. He then studies had spent a short period working for Seidl, later reported began to study engineering and in 1869 switched to the newly in his memoires of Seidl’s impressive and confident manner of founded Polytechnikum, now known as the Technische Universität designing. Surrounded by hundreds of slip boxes, Seidl would pick München, in order to study architecture under Gottfried von Neu- out photographs, ornamental prints and individual sketches and reuther. After receiving his diploma in 1874, he became a member compose, as required by the building commission, ever-new buil- of the Bayerischer Kunstgewerbe-Verein, an arts and crafts dings of great suggestive effect, which he cleverly integrated into association. In 1876, he participated in the exhibition “Unser the urban space. In the example of the Ruffinihaus on the Rin- Väter Werke” in the Glaspalast in Munich, a renowned exhibition dermarkt, he incorporated the old Munich townhouse tradition in building, with a living room furnishing in the style of the German plaster facades and stuccowork. In the noble Brienner- and Max- Renaissance. This ‘German room’ made him famous over night. Joseph Straße, Seidl created the Haus Böhler and the Schrenck- As a result, Seidl received numerous commissions and with the Notzing Palais in the Italian Renaissance style. In the case of the help of the sculptor Lorenz Gedon, as well as the painters Rudolf Kaulbach- and Lenbachhaus, he took up the classic Italian villa Seitz and Franz von Lenbach, he became a member of the influen- architecture; with the Karsplatz Rondell storey additions it was tial art society Allotria. new Baroque, and with the St. Anna-Kirche im Lehel or St. Rupert on the Gollierplatz, he created new Romanesque forms. Seidl received his first building commission in 1879 from his uncle Gabriel Sedlmayr, who stemmed from the beer-brewing dynasty In the case of the brewery taverns and beer palaces commissi- Spaten. The commission was for a ‘German house’ with dining oned by Sedlmayr – amongst others the Arzberger Keller on the rooms in the Sophienstraße, with a spectacularly high gabled roof Nymphenburger Straße, the Franziskanerkeller on the Hochstraße and the Spatenbräu in Berlin – Seidl created the cosy atmosphere Crown “Pour le Mérite for Sciences and Arts”. of a typical Bavarian beer cellar using simple wood panelled rooms and thereby made the building style famous around the The deepened national identity that resulted from the founding of world. the German Empire had increasingly focused public interest on the preservation of the home and the countryside. Seidl was also Within the space of just ten years, Seidl became one of the most a passionately committed conservationist and patroniser of en- influential architects in Munich. The character and atmosphere demic, rural building styles. In Bad Tölz, his mother’s hometown, of his buildings was much admired and he lent an architectural he proposed the redesign of the façade of the houses on the expression to the artistic city of Munich. Here only Friedrich von Marktstraße, in order to embellish the town. In 1902, he founded Thiersch (1852-1921) was held in similar esteem. Seidl also con- the “Verein zur Erhaltung der landschaftlichen Schönheiten der structed significant buildings outside his hometown, such as the Umgebung Münchens, besonders des Isartales” (Isartalverein), Historische Museum in Speyer, Villa Walther Rathenau in Berlin the aforementioned society for the preservation of the Isartal. And (destroyed) or Schloss Neubeuern in the Inntal. His participation at when in 1904, the “Bund für Heimatschutz” was set up with the the World Exhibition in 1893, together with Franz von Lenbach and aim of promoting the vernacular style within architecture, Seidl, Rudolf Seitz in Chicago, in Paris in 1900 and in St. Louis in 1904, together with Theodor Fischer and Hermann Muthesius, was one made Seidl a representative of German architecture overseas and of the founding members. he was awarded numerous prizes. The last great buildings constructed by von Seidl are the Bremer With the Künstlerhaus am Lenbachplatz, a centre for Munich’s Stadthaus, which he integrated alongside the old Renaissance artistic movement and the new construction of the Bayerische town hall into the historic urban space, as well as the Deutsche Nationalmuseum on the Prinzregentenstraße, he reached the ze- Museum that he built in parts, and which was later, following his nith of his career. As an architectural response to Albert Schmidt’s death in 1913, completed by his younger brother Emanuel (1856 new Romanesque synagogue and Friedrich von Thiersch’s new – 1919) who had also studied architecture. Celebrated as a prota- Baroque Palace of Justice, he created a new Renaissance building gonist of a new endemic building style during his lifetime, his ar- with the Künstlerhaus. In the case of the monumental structure chitectural approach was suppressed by the Moderne, the historic of the Bayerische Nationalmuseum however, Seidl freely used ar- forms rejected as eclectic and uncreative. Gabriel von Seidl’s idea chitectural forms that evoke buildings from German Renaissance of designing from within the city and including regional features architecture – Friedrich Sustris, Elias Holl or Paul Francke. was impressively continued by the next Munich based generation Following the opening in 1900, he was elevated to the peerage of architects, with Hans Grässel (1860-1939) and Theodor Fischer by the Prince Regent Luitpold von Bayern in thanks for his efforts (1962-1938) and thereby strengthened today’s perception of and in 1908, he was awarded the Order of Merit of the Bavarian typical Bavarian architecture.

Irene Meissner, Architekturmuseum, TU München 1

Lenbachhaus, Luisenstraße 33, 1887 -1892

Initially, the Lenbachhaus was the studio and home of the painter Franz von Lenbach. Gabriel von Seidl’s design demonstrates the intense involvement with the Italian Renaissance. The long, stretched studio building was designed around models of Italian garden casinos, the originally freestanding house in the style of an Italian suburban villa from the 16th Century. A picturesquely designed garden complements the estate of the Arcadian garden villa. Lenbach’s representational rooms on the first floor of the re- sidence remain preserved as a stunning example for the interior design qualities of Gabriel von Seidl. It was only when Franz von Lenbach’s widow made the transfer to the city of Munich that Hans Grässel added the northern exhibition wing in 1927/28, to complete the construction. Ehem. Palais Schrenck-Notzing, Max-Joseph-Straße 9, 1904 -1906

The noble palace built for the offspring of an old established Mu- nich patrician family demonstrates Gabriel von Seidl’s architectural language in its most elegant form. As a freestanding cube, the building integrates itself into the classical neighbourhood around the Karolinenplatz. By means of the exterior design, the architect evokes outstanding buildings from the Roman High Renaissance.

The colossal ensemble of columns - here they are spread over two storeys, the woodwork with metope reliefs, triglyphs and cornicing, all elements from the temple architecture from antiqui- ty, strengthen the monumental effect. Only a few pieces of the interior design, which evokes Italian palaces and villas, have been preserved in the entrance to the ground floor and small amounts on the first floor.

2 3 Ehem. Galerie Böhler, Brienner Straße 25, Industrie- und Handelskammer, 1904/05 Max-Joseph-Straße 2, 1911/12 The palace-like four storey main house was constructed as an art Gabriel von Seidl was commissioned to build a new home and dealer’s house typical for the art city Munich. The refined façade business premises for the art dealer Siegfried Drey and Adolf decoration is – typical for Gabriel von Seidl – a free adaption of Stern, as well as their sons, in attachment to the then stock ex- varying classic styles. The ground floor is designed as a base; change building conceived by Friedrich von Thiersch. Gabriel von the joints of the brickwork clearly protrude as banded rustication. Seidl took up the ridge of the neighbouring house and completed Blind arcades above Tuscan columns adorn the first floor, behind the construction as a closed block. He structured the longitudinal which lay the owner’s rooms. The final top semi-storey, a so- façade by using jutting building segments on the corners, so- called mezzanine floor, was reconstructed in simple form after called risalite (avant-corps), a centrically presented entrance hall becoming damaged during the war. Similarly, the original small on the ground floor and a on the fourth floor. In contrast to tower-like chimneys and the picturesque batwing dormers were the colour-differentiated façade of the neighbouring house, Gabriel destroyed, or rather were changed. The courtyard facing gallery- von Seidl worked with strong contrasts between the light plaster and studio extensions complete the rooms of the former gallery. surfaces and red terracotta reliefs in form of bands, window frames and medallions from the Nymphenburger Porzellanma- nufaktur. Originally there were sales rooms behind the arched windows on the ground floor, above them grand apartments. The building was badly damaged by an explosive bomb in 1944 and was only reconstructed externally between 1946 and 1950.

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Künstlerhaus, Lenbachplatz 8, 1892-1900

The association offices for Munich-based artists that was proposed by Franz von Lenbach as a meeting place between art and citizens was built in the immediate vicinity of the New Roma- nesque main synagogue that was erected almost simultaneously by Albert Schmidt (destroyed in 1938). In order to increase the architectonic effect of the ensemble, Gabriel von Seidl created a high main building, set back from the square, with a middle tower and gables on all four sides, flanked by volutes, in the style of the German Renaissance.

Low building wings, with pavilion-like corner elevations around a fore-courtyard, connect to restaurants, offices and conference rooms. The magnificently arranged interior rooms in the style of the Italian Renaissance, with the large ballroom on the first floor of the main building, are considered exemplary for the spatial art of the “Prince Regent Era”. The single storey wing on the Lenbachplatz was added on to in 1937/38.

The splendid vestibule with staircase in the main building and the “Venetian Room” in the north pavilion of the restaurant were kept in the original. The furnishings of the ballroom and the Lenbach- zimmer have almost been reconstructed in their original form. 6

Karlstor-Rondell, 7, 8, 10, 11, 1899 -1902 Erected as the western access point to the city in 1302, the Karls- façade design. tor was furnished with rondell buildings in 1803, following the de- fortification. In order to create a representative urban pendant to Tower-like corner risalite (avant-corps), originally crowned by the New Baroque Palace of Justice, built by Friedrich von Thiersch lanterns, mediate between the buildings that connect to the diagonally opposite, the idea of a redesign came about in 1891. Karlstor and the half-circle shaped series of business premises. Since then, the Karlstor (Stachus) with the inviting New Baroque The reconstruction, led by Gabriel von Seidl after several revised rondel buildings has characterised the appearance of the entrance plans, integrated the in 1857 heavily damaged Gothic Karlstor, to Munich. After the war destruction, the rondell buildings were which was subsequently restored, and envisaged the addition of reconstructed in a simpler format and shopping arcades were storeys to the classical rondell building with a uniform Baroque integrated. Between 1966 and 1970, Munich’s busiest square was redesigned. In 1992, the buildings’ interiors were largely gutted. 7

Ruffini-Block, Rindermarkt 10, 1903 -1905

The residential and business premises with their picturesque Ba- roque forms and colourful façades, richly adorned with cornicing, transmit the illusion of an assembled group of buildings. In an ex- aggerated form, the façade decorations build upon the townhouse facades from the 17th and 18th Century, and also integrate motifs from a more rurally characterised environment. Fundamental to the overall effect is the roof landscape with the Baroque styled chimney tops. Views from the alleys that lead to the building are cleverly taken up in the course of the new building measures.

With its oriels, the main building on the narrow northern side forms an effective closure to the Rosenstraße. However, the southwestern corner towards Sendlinger Straße was only reconst- ructed in a simplified form following war damages. Corpshaus Germania, Stollbergstraße 12, 1906/07 Like many other fraternities, the “Germania” also built its students’ premises in Munich. Gabriel von Seidl, who was also a member of the “Germanen” during his student years, took on the planning, the architect Georg Meister the execution. The narrow four storied saddle roofed house in the tradition of historic Munich townhouses is constructed in the style of the German Re- naissance. The vibrant design of the plaster façade with a natural stone structure (relief cartouche Anton Pruska) and the readability of elevation and layout – assembly room with arched windows on the ground floor, ballroom on the first floor with front facing balco- ny – correspond to the contemporary conception of a picturesque architecture. In 1945, the Americans requisitioned the house. From 1949 to the beginning of the 1960s, the building was the seat of the Bayerische Werbefunk. It was, however, later returned to the Corps Germania. The interior has largely been preserved; the ballroom has been renovated in a modern style.

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Kath. Pfarrkirche St. Anna, St.-Anna-Platz 5, 1887-1 892, St.-Anna-Brunnen, 1894 When the former monastery church St. Anna became too small as a parish church for the over 17.000 citizens and inhabitants of Lehel, the commission for a new parish church was tendered in competition form in 1885 amongst Munich based architects. Gabriel von Seidl won with his design “Basilika”, which he had to redo twice in order to reduce the costs. On the specially created square St. Anna Platz, Gabriel von Seidl had a terrace erected from building rubble, upon which he built his three-naved church between 1887 and 1892 in the style of the New Romanticism.

Gabriel von Seidl orientated himself around the building forms from the High Middle Ages, which he modified playfully and com- bined, thereby achieving a typical picturesque effect, especially on the side where the choir sat. For the interior of the church, Gabriel von Seidl designed altars and a chancel that were executed by the sculptor Anton Pruska. After the Second World War, the interior was purified according to the spirit of the times and attempts were made to reproduce von Seidl’s style.

The Romanised St. Anna well, designed by Gabriel von Seidl and executed in turn by Anton Prushka, is situated on the southwes- terly corner of the church terrace. The well, crowned by a cross as a symbol for salvation, carries a group of figures positioned over two fountain basins that personify the four rivers of paradise. 11 Tenement House, St.-Anna-Platz 2, 1887 Tenement House, St.-Anna-Platz 9, 1891

Directly connected to the design conception of the square for the The tenement house, analogous to that previously described, is new St. Anna church was the tenement house, built in 1887. Gab- also part of the building development around the St. Anna square. riel von Seidl, who had been commissioned with the design of the The property owner, senior judge Josef Schechner, had Gabriel façade, used two oriels, as well as the roof structures above, the von Seidl construct a wide, three storeys Neo-Baroque building, so-called gabled dormers, to create a vividly structured façade. originally with two apartments per floor. As in the case of the The contrast of a New-Romanesque church and a Neo-Baroque building St. Anna Platz 2, Gabriel von Seidl once again reverted to tenement house as opposing styles is typical for Gabriel von the deployment of gabled dormers and oriels – in this case with a Seidl’s work and is intended to create a solid development around loggia above and completing balcony – as design elements for the an old church as its nucleus. Following heavy damage during the façade of this building. However, here he only used each element Second World War, the house was reconstructed in 1951 with a once to accentuate the central line. The stuccowork is kept much different roof composition and a strongly simplified façade. It was simpler than in house number 2. only in recent years that the property owners reconstructed the When the house was completed in 1891, the square was directly roof extensions, windows and stuccowork. connected to the building; today there is a small garden in front of it. The interior has been largely maintained in keeping with the furnishings of the time, for example, the embellishment of the staircase or the entrance to the apartments.

10 Double Tenement House, Liebigstraße 19, 21, 1882 The actual architect of the two houses erected in 1882 was Franz Kil, however, the property owner transferred the design of the exteriors to Gabriel von Seidl. He developed façades in the style of the New Renaissance for the wealthy businessman Georg Reiniger. A particular mention must be given to the solution that Gabriel von Seidl found for the development of the corner buil- dings Liebigstraße / Wagmüllerstraße. A tower-like pavilion that was originally completed by a cupola, set a clear urban constructi- ve statement. Strongly protruding horizontal bands structured the façade floor by floor, as did the latticed balconies on the corner pavilion, which were set on cast iron consoles. From 1899, the two houses underwent constant change, for example, by the ex- tension of house number 21 towards the north in 1899/1900, and by the addition of another storey to house number 19 in 1924, or by changes to roof format as a result of bomb damage during the Second World War.

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Bayerisches Nationalmuseum, Prinzregentenstraße 3, 1894 -1900 The Bayerische Nationalmuseum for historic art collections shows interior collection that has been carried together over several cen- its high ranking within the kingdom at the time by the asymmetric turies. The boundaries are fluid, as building sections from other grouping of the individual buildings, the small neighbouring important historical eras have been cleverly integrated, which buildings, the elaborate decorative elements, primarily from the on the one hand makes the claim for the growth of the building, German Renaissance, and the designed surrounding masonry but which also could be considered part of the art collection. work. The complete arrangement, whose detailed forms have However, the interior was restored in a simplified form following been borrowed from palace construction, seems to have grown damage during the war. over several building phases, and it is a reflection for the actual 14

Kaulbach-Villa, Historisches Kolleg, Kaulbachstraße 15, 1887-1889 Following the calling of Friedrich August von Kaulbach (1850-1920) to the Akademie der Bildenden Künste in Munich, the master painter had a grand residence with painters studio built in the suburbs of Schönfeld. Gabriel von Seidl orientated himself around the Roman style of the villa suburbana, which he completed in the style of the Renaissance. The 132 square meter painters studio was situated on the first floor above the living area and the entrance hall on the ground floor. The studio opened out onto the garden via a loggia with a Venetian window (Serliana). On the street-facing side, the villa had a systematically designed front with a slightly dispersed middle risalite. In 1900, another storey was added to the side wings.

From 1937 to 1944, the villa housed the NS-Gauleiter Adolf Wagner. From 1945 to 1983, the American radio station AFN used the villa. Since 1988, the Villa has been the seat of the historical college, following essential renovations. The façades were almost entirely returned to their original condition, the preserved interior decoration (painted coffered ceilings, carved Renaissance portal) was restored; the former studio redesigned into a library and conference room and the magnificent garden reinstated. Buildings outside the trail B Tenement House, Bavariaring 24, 1888/89 A , Museumsinsel 1, 1909 -1925 The pharmacist Georg Erhard commissioned the architect Gabriel In 1906, Gabriel von Seidl won the competition tender for the von Seidl to design a representational tenement house on the building of the Deutsches Museum – conceived from the start corner Bavariaring / Beethovenstraße in the newly emerging urban as a technical pendant to the Germanische Nationalmuseum by expansion between Pettenkoferstraße and Lindwurmstraße. As Oskar von Miller. Following the laying of the foundation stone one of the first houses on the Bavariaring, he designed a three- in 1906, the actual building phase did not begin until 1909, and winged building in the style of a Baroque garden palace. This only the shell was completed by the year of Gabriel von Seidl’s is all the more remarkable, as during this era Neo-Renaissance death, 1913. The further development was taken over by his continued to be very popular and predominant, so that Gabriel von brother Emanuel von Seidl. The museum was not opened until Seidl’s design was considered stylistically defining. A particular 1925. Even though Gabriel von Seidl’s designs covered the entire highlight comes in form of a relief depicting Mary Immaculate in building complex, the library- and conference wings to the north the style of the Bavarian , sculpted by Anton Pruska, found of the building were built according to plans made by German in the middle section of the building. A surrounding fence with Bestelmeyer from 1928 onwards, which continued with Gabriel corner pavilion completes the construction. Following damages von Seidl’s rational, classical architectural language that he had during the Second World War, the building shell was simplified and deployed in the construction of the main building. The modern only largely restored at the beginning of the 1970s. technical building style using reinforced concrete corresponds to the intention of the building being a place to gather one’s C Bavariapark, 1908 thoughts. The decorations are more committed to the progressive Originally conceived as Theresienhain at the beginning of the 19th and sober design language of modern Neo-Classicism than the Century, the park was renamed Bavariapark at the inauguration of picturesque elements of Gabriel von Seidl’s historically influenced the Statue in 1850 and from 1872 it was opened up to the buildings. Consequently the other façades were also completed in public. For the exhibition “Munich 1908” to commemorate the the new concrete material. 750th year of founding, Gabriel von Seidl delivered his designs for the incorporation of the terrain to an exhibition park for future lar- ge exhibitions. He designed a staggered construction with a row of six permanent exhibition halls, so as not to interrupt the view of Bavaria and Ruhmeshalle. He gave the park itself new walkways, supplemented the tree population and had sculptures erected made by Munich-based sculptures. A cascade fountain (Emanuel von Seidl), a pergola on the southside and figure sculpture grove completed the park. The Bavariaring was also created, which surrounds the Theresienwiese. In 2008, the historic park underwent renovations and alignments E Apartment Building, Marsstraße 26, after the former fair moved to Riem, during which the construc- Front housing to Seidlstraße 18, 1899 tive and figurative features, as well as the tree population were expanded. The four-storey apartment building on a small plot of land presents a strict vertical three-part structure with level plaster wall panels. On a D Katholische Pfarrkirche St. Rupert, Gollierplatz 1, 1901 -1903 mildly protruding middle risalite, a dormer gable forms an additional The continuous population growth in the Westend around the turn storey. The gemel windows situated in each axis on all top floors of the century required the construction of a new parish church gives the façade an inner tension and corresponds to the three for 3,000 people. The land was donated by the city of Munich. arched windows on the elevated basement floor. The balustrades Due to limited financial means, the requirement was to provide a between the floors are decorated with organic forms, inspired by large holding capacity at a low price per cubic meter. Having won the contemporary Baroque sentiment. The master builder emblems the competition, Gabriel von Seidl built a four-apse construction refer to the architect and the property owner, while motive of Marie from facing bricks with a middle tower in Neo Romantic style. The Immaculate, positioned in the middle risalite above the second floor, massive central construction with a total diameter of 50 meters takes up general Baroque era pious depictions and magnificently (with a free span of 26 meters) was straddled by an iron roof accentuates the middle section. structure, and as a construction depends upon the inner walls of rabitz mesh. Without any optical indication of the supporting struc- ture, the of the very wide, relatively sober interior was only decorated two-dimensionally. In 1935, the original murals were removed. The building survived the Second World War without any damage, the interior was strongly purified in the 1960s, openings were made into the altar apse (lead windows Georg Schönberger) and almost the entire interior furnishings were removed, except the organ loft. F Seidl-Schlößchen, Seidlstraße 18, 1899 Isartalverein, 1902 Originally conceived as a rear building and studio for an office, this In order to oppose property price speculation and out of concern small three-storey building, constructed using a former building, for the Isar, which was due to be channelled so as to generate was probably built together with the front house Marsstraße 26. power and to prevent flooding, the conservationist Gabriel von The original courtyard conception was given up in favour of a clear Seidl organised a private initiative for the protection of the at the opening towards the road. The west façade with polygonal corner time largely untouched wild river landscape. He was able to gain tower with a flat pavilion roof, the arched roof with crowned the support of many citizens of Munich. On the 2nd May 1902, segment gable over the two middle axes and a just two-storey the founding of the “Vereins zur Erhaltung der landschaftlichen high end to the building in the south with a small dormer in the Schönheiten in der Umgebung Münchens besonders des Isartals”, slanted roof demonstrates architect’s sophistication in creating the association for the protection of the Isartal, took place in the a picturesque cumulative effect “en miniature” so to speak. The Münchner Künstlerhaus. Gabriel von Seidl was made chairman cartouche on the corner tower, the decorated balustrades in the of the association, the Bavarian Minister for the Interior, Graf von middle section and the window pulled into an archshaped niche Feilitzsch, registered as first member. So as to preserve charming with a transverse oval skylight create a late Baroque – early Classi- places and to secure public walkways, the work of the association cism appearing cumulative effect using few stylistic elements. The was on the one hand to buy pieces of land, while on the other interior was changed significantly for use as an office around 1900 Gabriel von Seidl was meant to develop construction plans for after a period of uncertainty as to its use. speculative properties. In 1905, with the participa- tion of Gabriel von Seidl, conservationism became a task for the state with the founding of the “Bayeri- schen Landesausschusses für Naturpflege”. In 1922, the Isartalverein honoured its founder with a memorial on the Isarhochufer (Josef- Breher-Weg/ Hochleite, Pullach im Isartal). Biography – an overview of the most important dates Buildings in Munich, both ephemeral, as well as damaged during the Second World War and later changed by massive 1848 Born on the 9th December in Munich reconstruction 1871 -1874 Studied architecture at the Polytechnischen Schule in Munich under Gottfried Neureuther 1848 Born on the 9th December in Munich 1876 Participated at the exhibition “Unserer Väter Werke” in the Munich 1879 -1889 “Deutsches Haus”, Sophienstraße 1 Glaspalast, on the occasion of the founding of the Münchner 1881 Entrance to the Schützenstadt of the „Siebenten Deutschen Bun Kunstgewerbevereins 25 years earlier desschießen“ with Rudolf Seitz 1876/77 Study travels to Rome 1881/82 Arzberger-Keller, Nymphenburger Straße 10 1893 Participated at the Columbian World Exhibition in Chicago with Franz um 1880 Bäckerherberge, Maistraße 12 von Lenbach and Rudolf Seitz 1886 Franziskaner-Keller, Hochstraße 7 1900 Elevated to the peerage (following the opening of the Bayerischen 1886 First canvas tent on the Theresienwiese Nationalmuseums). Participated at the Parisian World Exhibition. 1888 Tenement House, Bavariaring 17, significantly changed by reconst Award for Architecture ruction 1901 Appointment as a member of the monumental structure commissi- 1889 -1891 Onuphrius-Haus, on founded by the Prince Regent Luitpold to regulate the construc- 1891 Bauerngirgl, Residenzstraße 19/20 tion in Munich under artistic aspects. 1892-1900 Rococo Chapel Bayerisches Nationalmuseum, Himbselstraße 1902 Founding of “Verein zur Erhaltung der landschaftlichen Schönheiten 1896 “Beer Palace” for Michael Schottenhammel on the Theresienwiese der Umgebung Münchens, besonders des Isartales” (Isartalverein) 1897/98 Palais Berchem, Brienner Straße 22, significantly changed by recons 1904 Founding member “Bund Heimatschutz”, Dresden (together with truction Theodor Fischer and Hermann Muthesius, Chairman Paul Schultze- 1899 -1900 Residence Toni Stadler, Gabelsberger Straße 11, 1938 discontinued Naumburg) 1901/02 Palais Klopfer, Schützenstraße 7 (Brienner Str. 41) 1905 Awarded honorary doctor title by theTechnischen Hochschule 1901-1903 Vincentinum, Oettingenstraße 16, significantly changed by reconst München (now TU München) ruction 1908 Awarded the Order of Merit of the Bavarian Crown “Pour le Mérite 1911-1913 Haus Freundlich, Brienner Straße 43 for Sciences and Arts 1904 Participated at the World Exhibition in St. Louis, Awarded two gold medals for architecture 1913 Died on the 27th April in Bad Tölz. His grave can be found on the Alten Südlichen Friedhof in Munich. Important main works outside of Munich Impressum

Bad Tölz Reconstruction of the Marktstraße, from 1896 Publisher Reconstruction Marienstift, 1905 City of Munich Kurhaus, 1913/14 Departmen of Urban Planning Berlin Villa Walther Rathenau, Viktoriastraße 3, 1903, destroyed Blumenstraße 31 Spatenbräu, Friedrichstraße 172, destroyed 80331 Munich Neues Rathaus (Stadthaus), 1909 -1913 www.muenchen.de/plan Düsseldorf Haus Elodie Puricelli, Königsallee 49, 1905 -1907 Frankfurt a. M. Wohn- und Geschäftshaus Georg Herwig, Neue Mainzer Isartalverein e. V. Straße, 1906/07, destroyed Arnulfstraße 60, 80335 Munich Ingolstadt Reconstruction and new design of the townhall (Rat haus), 1882/83 Architekturmuseum, Technische Universität München Neubeuren Schloss Neubeuern 1905/06 Arcisstraße 21, 80333 München Speyer Historisches Museum, 1907 www.architekturmuseum.de Worms Ratssaal and Bürgerhof, 1884 Concept and editing: Anne Hogeback, Dina Straße, City of Munich Literature Authors: 110 Jahre Münchner Künstlerhaus 1900 -2010, herausg. v. der Münchner Dr.-Ing. Irene Meissner, Architekturmuseum, TU München Künstlerhaus-Stiftung, München 2010 (Trail: 5, 6, 8, 14; Buildings outside trail: C, D, Isartalverein, as well as the Ingolf Bauer, Das Bayerische Nationalmuseum. Der Neubau an der Prinzregen- following information) tenstraße 1892-1900, München 2000 Harald Scharrer, City of Munich Hans Bössl, Gabriel von Seidl, herausg. v. Historischen Verein von Oberbayern, (Trail: 4, 9, 10, 11, 12; Buildings outside trail: B) München 1966 Dr. Harald Gieß, Bayerisches Landesamt für Denkmalpflege Oscar Doering, Zwei Münchener Baukünstler. Gabriel von Seidl und Georg von (Trail: 1, 2, 3, 7, 13; Buildings outside trail: A, E, F) Hauberrisser, München 1924 Dore Gribl, „Für das Isartal“. Chronik des Isartalvereins, München 2002 Design: Helga Zellerhoff, City of Munich Veronika Hofer (Hg.), Gabriel von Seidl. Architekt und Naturschützer, Kreuzlin- Map: Daniela Appelt, City of Munich gen/ München 2002 Hans Wolfram Lübbeke, Das Bayerische Nationalmuseum von Gabriel von Seidl, Photos: Peter Schinzler, München; P. 2 Clemens von Seidlein, Munich Diss. Salzburg 1973 P. 34 Dore Gribl, Munich Gabriele Schickel, Der Architekt Gabriel von Seidl, in: Ingolf Bauer, Das Bayeri- sche Nationalmuseum, München 2000, S. 73 -100 Translation: Kern AG, Sprachendienste, www.e-kern.com Gabriele Schickel, Gabriel von Seidl, in: Historische Kommission bei der Bayeri- schen Akademie der Wissenschaften (Hg.), Neue Deutsche Biographie, Bd. 24, Print: Senser Druck GmbH Berlin 2010, S. 180f. Printed on 100% recycled paper Wilhelm Tacke, Das Neue Rathaus in Bremen oder Wie kommt der Sündenfall über das Portal, Bremen 2013 April 2013; 2nd unchanged edition: 2018

Isartalverein e.V.

www.muenchen.de/plan